Welsh - Playwright | 1968 -
Writing comedy is a superpower.
Abi Morgan
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I'd love to know what the future looks like.
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I am the most tense, annoying person in the world.
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I got dumped off 'The Iron Lady' a month before they started shooting, and then they brought two new writers on. Then I was brought back on again. I'm just a bit of a rubber ball. I just bounce back.
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When people say to me, 'You're so prolific!' it's, like, no, I'm just hopeless with money.
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All work is a process of failure. Every single thing I write, I look at it and go, 'Do better. That's not good enough. Do better.' And so, that keeps me up at night.
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Stage is the place of the playwright: you're guided by great actors and directors, but it's the playwright's word on the page that counts.
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I work from about 8:30 A.M. until 7 P.M., five days a week, when I'm not sneaking off to buy another bar of chocolate.
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Cornelia Parker has inspired a lot of my theatre work. Her art is about points of impact: it's poetic but with a strong literal story.
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I had a huge interior world as a kid: I'd sit on endless wet holidays in Cornwall playing with paper dolls.
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Plays are the marathon of scriptwriting. You fix on a point somewhere in the middle distance, and you start running, and you don't stop until you get to the end. The theory is that you have something you cannot not say: this is the engine that propels you through to the last page.
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Plays are painful. But the very act of writing is a basic freedom denied some women. Some would call it a privilege. So what's a little pain?
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